By PD Martin

This past week has been about creative immersion—not for me, for a group of students!

I created my new novel writing intensive course so I could have complete ‘control’ over my creative writing course in terms of the length and content. And I’m loving it! Don’t get me wrong, I also love teaching at Writers Victoria and the other state centres around Australia (like my two-day stint in Adelaide at the end of July). However, nothing beats designing the course yourself. In the case of my novel writing intensive, it’s five days in a row, 10am-4pm at the Abbotsford Covent (on the left). By the end of the week, participants really do have everything they need to write a novel or take their current draft to that next level.

And while I’m not actively taking part in the creative immersion, as such, it’s also pretty intense for me. I’m on the journey with my students, and I’ve got to say, nothing beats seeing a writer’s eyes light up when they see/hear something that clicks and their whole novel falls into place. Something that changes their whole world view—of their fictional world, that is.

As I expected, it was the character and plot days that provided the most lightning bolt moments for my students—who ranged in writing backgrounds from writers about to embark on their first novel to a student who’d had two books traditionally published ten years ago and wanted to up her professional development and to ignite her love of writing again. And I’m happy to say, by the end of the week she was raring to go.

While the course only involves me reading the students’ first 10-15 pages and so I’m by no means intimate with their stories and characters, it’s still incredibly satisfying to see students work out new beginnings, identify their problem areas, work out some more plot twists and turns, and head off after day 5 ready to attack their novels. There aren’t many things that beat the passion for a story and your characters. It burns you, consumes you, until all you can do is write.

That’s my job done, I guess. Mission accomplished. Now it’s back to MY work in progress. Man, am I behind.

Via: P.D. Martin

By PD Martin

This past week has been about creative immersion—not for me, for a group of students!

I created my new novel writing intensive course so I could have complete ‘control’ over my creative writing course in terms of the length and content. And I’m loving it! Don’t get me wrong, I also love teaching at Writers Victoria and the other state centres around Australia (like my two-day stint in Adelaide at the end of July). However, nothing beats designing the course yourself. In the case of my novel writing intensive, it’s five days in a row, 10am-4pm at the Abbotsford Covent (on the left). By the end of the week, participants really do have everything they need to write a novel or take their current draft to that next level.

And while I’m not actively taking part in the creative immersion, as such, it’s also pretty intense for me. I’m on the journey with my students, and I’ve got to say, nothing beats seeing a writer’s eyes light up when they see/hear something that clicks and their whole novel falls into place. Something that changes their whole world view—of their fictional world, that is.

As I expected, it was the character and plot days that provided the most lightning bolt moments for my students—who ranged in writing backgrounds from writers about to embark on their first novel to a student who’d had two books traditionally published ten years ago and wanted to up her professional development and to ignite her love of writing again. And I’m happy to say, by the end of the week she was raring to go.

While the course only involves me reading the students’ first 10-15 pages and so I’m by no means intimate with their stories and characters, it’s still incredibly satisfying to see students work out new beginnings, identify their problem areas, work out some more plot twists and turns, and head off after day 5 ready to attack their novels. There aren’t many things that beat the passion for a story and your characters. It burns you, consumes you, until all you can do is write.

That’s my job done, I guess. Mission accomplished. Now it’s back to MY work in progress. Man, am I behind.

Via: P.D. Martin

By PD Martin

Bookings close soon for my May master class at the inspiring Abbotsford Convent. The course is designed for new and emerging writers of all genres.

My goal is simple: to help get you published, sooner.

19-23 May, 9.30-3.30pm

Book now

Bookings close soon for my May master class at the inspiring Abbotsford Convent. The course is designed for new and emerging writers of all genres – to help take your writing to the next level. My goal is simple: to help get you published, sooner.

Book now

“By the time I completed Phillipa’s writing course, I had a solid first draft; the year after finishing my manuscript, I was signed to a great agent and publisher. Phillipa’s courses are a wonderful resource for writers – highly recommended!” Ellie Marney, 2011 student and author of Every Breath (Allen & Unwin 2013 & 2014)

And last week yet another of my past students received a publishing deal for the manuscript he was working on in my class.

19-23 May, 9.30-3.30pm.

More information and testimonials.

Via: P.D. Martin

By PD Martin

I last blogged about writing my new novel in April. That blogged focused on some of the preparation work – plot development and character exercises.

I’ve spent the last four months refining a first draft of the first 60 pages for my agent to submit to publishers. It’s been a long and arduous process, but it also proves something I always tell my students…good writing is about editing, editing and re-editing. This is the twelfth book I’ve written (that figure includes early ones that didn’t get published) and the process is still hard and time-consuming. And, of course, incredibly fun and engaging.

So, what sorts of edits have I been up to:

1. Character, character, character. It can be a hard thing to edit for, but it’s important to get it right.
2. Internal monologue. I’m a bit obsessive when it comes to internal monologue (cut, cut, cut) but with this new genre there is space for a little more of the main characters’ thoughts. Problem was I took this ‘freedom’ and went too far. So I’ve been editing those internal monologues down.
3. Beats. I’m a beat fanatic, but I often have to change my beats. During the first draft I often put place-marker beats in and during editing I work on improving them. Beats and character development go hand-in-hand, so I often use my beats to SHOW character traits.
4. Tension. I’ve also been upping the ante when it comes to tension, and while I wanted my first pages to show my characters happy (before the bad xxx goes down), my agent still wanted conflict.

And that’s about it for this draft. The four elements above make up part of my Writing Rules to Live By, yet they’re still things I often have to edit for, things that tend to creep into my first draft.

So the motto is: edit, edit, edit!

Via: P.D. Martin

By PD Martin

I last blogged about writing my new novel in April. That blogged focused on some of the preparation work – plot development and character exercises.

I’ve spent the last four months refining a first draft of the first 60 pages for my agent to submit to publishers. It’s been a long and arduous process, but it also proves something I always tell my students…good writing is about editing, editing and re-editing. This is the twelfth book I’ve written (that figure includes early ones that didn’t get published) and the process is still hard and time-consuming. And, of course, incredibly fun and engaging.

So, what sorts of edits have I been up to:

1. Character, character, character. It can be a hard thing to edit for, but it’s important to get it right.
2. Internal monologue. I’m a bit obsessive when it comes to internal monologue (cut, cut, cut) but with this new genre there is space for a little more of the main characters’ thoughts. Problem was I took this ‘freedom’ and went too far. So I’ve been editing those internal monologues down.
3. Beats. I’m a beat fanatic, but I often have to change my beats. During the first draft I often put place-marker beats in and during editing I work on improving them. Beats and character development go hand-in-hand, so I often use my beats to SHOW character traits.
4. Tension. I’ve also been upping the ante when it comes to tension, and while I wanted my first pages to show my characters happy (before the bad xxx goes down), my agent still wanted conflict.

And that’s about it for this draft. The four elements above make up part of my Writing Rules to Live By, yet they’re still things I often have to edit for, things that tend to creep into my first draft.

So the motto is: edit, edit, edit!

Via: P.D. Martin

By PD Martin

What is the ideal creative writing course format? Is there even such a thing? Writing courses come in all shapes and sizes—from a three-hour workshop to a full-time course. What’s best? What course will help you improve your writing the most?

I’ve taught quite a few different course formats –the shortest would be a six-hour workshop and I’d class my longest as being my mentorship role in the tertiary system. What works best?

The truth is, there are advantages and disadvantages of different course formats. One of my favourite courses was the Year of the Novel course I taught at Writers Victoria in 2012. I loved the fact that I could help people improve their writing over time, and I could see their projects taking shape. This course was one Sunday a month for eight months. However, while the eight-month time frame held many advantages, there were also disadvantages. Part of my teaching ethos is to drive my students to write more and finish their novels. Which meant that in my eight-month course I set word counts that I wanted them to achieve before our next session. Problem? I couldn’t possibly fit all the writing craft, character development work and plot development work into the first day of the course. Of course, I’d structured the course to feed the relevant craft info into key points, but still, there are definitely advantages of doing a more intensive course upfront before you start writing the next novel (or while you’re writing it).

I’m now also running intensive, week-long novel writing sessions at the Abbotsford Convent. Monday to Friday, 10am-4pm. These are designed to set up writers with the knowledge and tools to start and finish their novels. Again, there are advantages and disadvantages of this format. On the plus side, after only one week I’m confident that these students will know everything they need to know to make their novel the best it can be. To increase their chances of getting a publishable novel at the end of the day. It’s also handy for my interstate students, who can take the week off work and fly in once and know they have improved their craft exponentially. But it is pretty intensive and there’s no room for workshopping a novel, chapter-by-chapter.

The ideal format? I think a short course of 4-8 days over a shorter time frame (e.g. all the days in a row or weekly) followed by a longer course/program to ensure you’re putting all the craft knowledge into action is the ideal combination. The longer program could be in the form of a detailed manuscript assessment, workshopping group, or a course. Or even giving your manuscript to a good editor. I’ve learnt a lot from seeing the skilful edits of my Aussie, UK and US editors.

It’s also important you choose a ‘good’ course. Of course, choose a teacher who’s a published author, and someone who’s an experienced teacher. One of my students who did one of my Writers Victoria courses (five-day course over five months) said she learnt more in those five days than she did in her one-year, full-time creative writing course. And while that’s incredibly flattering, it also appals me that a full-time course can’t deliver the goods. So choose wisely and research the teachers!!

Via: P.D. Martin

By PD Martin

What is the ideal creative writing course format? Is there even such a thing? Writing courses come in all shapes and sizes—from a three-hour workshop to a full-time course. What’s best? What course will help you improve your writing the most?

I’ve taught quite a few different course formats –the shortest would be a six-hour workshop and I’d class my longest as being my mentorship role in the tertiary system. What works best?

The truth is, there are advantages and disadvantages of different course formats. One of my favourite courses was the Year of the Novel course I taught at Writers Victoria in 2012. I loved the fact that I could help people improve their writing over time, and I could see their projects taking shape. This course was one Sunday a month for eight months. However, while the eight-month time frame held many advantages, there were also disadvantages. Part of my teaching ethos is to drive my students to write more and finish their novels. Which meant that in my eight-month course I set word counts that I wanted them to achieve before our next session. Problem? I couldn’t possibly fit all the writing craft, character development work and plot development work into the first day of the course. Of course, I’d structured the course to feed the relevant craft info into key points, but still, there are definitely advantages of doing a more intensive course upfront before you start writing the next novel (or while you’re writing it).

I’m now also running intensive, week-long novel writing sessions at the Abbotsford Convent. Monday to Friday, 10am-4pm. These are designed to set up writers with the knowledge and tools to start and finish their novels. Again, there are advantages and disadvantages of this format. On the plus side, after only one week I’m confident that these students will know everything they need to know to make their novel the best it can be. To increase their chances of getting a publishable novel at the end of the day. It’s also handy for my interstate students, who can take the week off work and fly in once and know they have improved their craft exponentially. But it is pretty intensive and there’s no room for workshopping a novel, chapter-by-chapter.

The ideal format? I think a short course of 4-8 days over a shorter time frame (e.g. all the days in a row or weekly) followed by a longer course/program to ensure you’re putting all the craft knowledge into action is the ideal combination. The longer program could be in the form of a detailed manuscript assessment, workshopping group, or a course. Or even giving your manuscript to a good editor. I’ve learnt a lot from seeing the skilful edits of my Aussie, UK and US editors.

It’s also important you choose a ‘good’ course. Of course, choose a teacher who’s a published author, and someone who’s an experienced teacher. One of my students who did one of my Writers Victoria courses (five-day course over five months) said she learnt more in those five days than she did in her one-year, full-time creative writing course. And while that’s incredibly flattering, it also appals me that a full-time course can’t deliver the goods. So choose wisely and research the teachers!!

Via: P.D. Martin

By PD Martin

Last week I went to Matthew Luhn’s one-day story workshop in Melbourne. It was part of a three-day event on animation, set up by Pixar. Yup, the big guns!

I was pretty excited. It’s not very often that an author gets to do ‘professional development’ after a certain stage in their career (usually publication). You see, most courses are aimed at emerging writers—fair enough, that’s the students I usually get in my classes too. In fact, it was partly because I’m teaching so much these days that I thought I’d rock up to the event and see what one of Pixar’s Story Supervisors had to say about story structure. It’s always interesting to hear how other story pros approach their work. Matthew’s resume includes all three Toy Story movies, Monsters Inc, Finding Nemo, Cars, Ratatouille, UP, Monsters University and Toy Story of Terror. That’s a pretty good rap sheet

The morning focused solely on story, so it was this part that was most relevant to me, and that I thought I’d blog about. I find that often with story and character, it’s not that the content itself is new or provides some revelation, but it’s how it’s expressed.

As an example, I really liked the way he expressed the story structure:
• Exposition
• Inciting incident
• Progressive complications
• Crisis
• Climax
• Resolution

Of course, we often/usually see the words ‘climax’ and ‘resolution’ in story structure theory and the ‘inciting incident’ is part of a couple of plot breakdowns including Blake Snyder’s 15 beat sheet (mentioned in the Catalyst ‘beat’) and film’s eight sequence structure. But still, I like the simplicity of the expression above.

I also wanted to share some of Matthew Luhn’s character approaches and notes. I particularly liked the way he talked about showing your character’s passion and at least one major flaw during the exposition (story set up). The inciting incident is then usually about taking away that character’s passion or them committing to trying to achieve that passion. Nice, huh? I watched The Incredibles the other day with my kids and saw this story-character relationship. The hero’s passion was being a superhero and that was taken away from him when he was sued and the government relocated all superheroes under secret identities. He was no longer allowed to use his powers, in fact, he had to hide his abilities. Matthew’s example in the workshop was UP. Carl’s passion was his wife and their house was an extension of their relationship and all he had left of her. In UP, his house was going to be taken away.

It also got me thinking about my current work in progress. Interestingly, I went the other way around. I could easily identify my inciting incident but I hadn’t traced it back to her ‘passion’. Yes, I’d looked at how it (the inciting incident) would affect her, but not as a direct relationship to a ‘passion’ and therefore needing to set up that passion early on. I’ve just re-written the first chapter, brining her passion to the fore.

The second half of the day did focus more on animation stuff—composing story boards, cinematography in animation (camera angles), etc. Incredibly interesting but probably not that useful in the day-to-day life of an author.

Still, the day was definitely worthwhile and the timing was good, because it got me fired up again for my current work in progress! And Pixar does rock.

By PD Martin

Last week I went to Matthew Luhn’s one-day story workshop in Melbourne. It was part of a three-day event on animation, set up by Pixar. Yup, the big guns!

I was pretty excited. It’s not very often that an author gets to do ‘professional development’ after a certain stage in their career (usually publication). You see, most courses are aimed at emerging writers—fair enough, that’s the students I usually get in my classes too. In fact, it was partly because I’m teaching so much these days that I thought I’d rock up to the event and see what one of Pixar’s Story Supervisors had to say about story structure. It’s always interesting to hear how other story pros approach their work. Matthew’s resume includes all three Toy Story movies, Monsters Inc, Finding Nemo, Cars, Ratatouille, UP, Monsters University and Toy Story of Terror. That’s a pretty good rap sheet

The morning focused solely on story, so it was this part that was most relevant to me, and that I thought I’d blog about. I find that often with story and character, it’s not that the content itself is new or provides some revelation, but it’s how it’s expressed.

As an example, I really liked the way he expressed the story structure:
• Exposition
• Inciting incident
• Progressive complications
• Crisis
• Climax
• Resolution

Of course, we often/usually see the words ‘climax’ and ‘resolution’ in story structure theory and the ‘inciting incident’ is part of a couple of plot breakdowns including Blake Snyder’s 15 beat sheet (mentioned in the Catalyst ‘beat’) and film’s eight sequence structure. But still, I like the simplicity of the expression above.

I also wanted to share some of Matthew Luhn’s character approaches and notes. I particularly liked the way he talked about showing your character’s passion and at least one major flaw during the exposition (story set up). The inciting incident is then usually about taking away that character’s passion or them committing to trying to achieve that passion. Nice, huh? I watched The Incredibles the other day with my kids and saw this story-character relationship. The hero’s passion was being a superhero and that was taken away from him when he was sued and the government relocated all superheroes under secret identities. He was no longer allowed to use his powers, in fact, he had to hide his abilities. Matthew’s example in the workshop was UP. Carl’s passion was his wife and their house was an extension of their relationship and all he had left of her. In UP, his house was going to be taken away.

It also got me thinking about my current work in progress. Interestingly, I went the other way around. I could easily identify my inciting incident but I hadn’t traced it back to her ‘passion’. Yes, I’d looked at how it (the inciting incident) would affect her, but not as a direct relationship to a ‘passion’ and therefore needing to set up that passion early on. I’ve just re-written the first chapter, brining her passion to the fore.

The second half of the day did focus more on animation stuff—composing story boards, cinematography in animation (camera angles), etc. Incredibly interesting but probably not that useful in the day-to-day life of an author.

Still, the day was definitely worthwhile and the timing was good, because it got me fired up again for my current work in progress! And Pixar does rock.

Via: P.D. Martin

By PD Martin

My next master class is coming up in September. The course is designed for writers of all genres and will be held at the inspiring Abbotsford Convent.

My goal is simple: to help get you published, sooner.

1-5 September, 10am-4pm

My next master class is being run 1-5 September. Many of my past students have gone on to publishing success. My goal is simple: to help get you published, sooner.

Key features:

Via: P.D. Martin